Jennifer Borland, PhD

Associate Professor in Art History
Office:(405) 744-6016
Fax:(405) 744-5767
Email: jennifer.borland@okstate.edu
View CV

 

A sculpture of St. Margaret and the Dragon at the Victoria & Albert Museum, London
A sculpture of St. Margaret and the Dragon at the Victoria & Albert Museum, London
Professor Borland at the Alcázar in Seville, Spain
Professor Borland at the Alcázar in Seville, Spain
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Jennifer Borland is an art historian specializing in medieval art and architecture, and teaches courses in medieval European and Islamic art history as well as on gender in visual culture at OSU. She received her Ph.D. in Art History from Stanford University in 2006, and joined the OSU faculty in 2007. Borland’s research and teaching interests range from medieval medical and scientific imagery, to medievalism and collecting, materiality, the corporeal experience of objects and spaces, audience and reception, and representations of gender.

She is a founding member of the Material Collective, a collaborative group that seeks to expand the form of and avenues for academic work, in part through prioritizing creativity, adventurousness, and activism in art historical research and writing. For more on the MC, see “An Interview with the Material Collective,” Rutgers Art Review: The Graduate Journal of Research in Art History 33/34 (Fall 2018).

Dr. Borland currently serves at the Director of the Digital Humanities Initiative at OSU, a collaborative group of scholars exploring new directions in the humanities. She has served in a variety of other positions while at OSU, including as Interim Department Head, Associate Department Head, Director of Graduate Studies in Art History, and the College of Arts and Sciences Faculty Fellow for Community Engagement. She is a 2019 graduate of the HERS Institute, a higher education leadership development program.

Current Projects:

Domesticating Knowledge: Household Health and the Late Medieval Illustrated Manuscripts of the Régime du corps. A book-length study of the late medieval illustrated manuscripts of the Régime du corps, a medieval health guide (under review).

“Female Networks and the Circulation of a Late Medieval Illustrated Health Guide,” in Moving Women, Moving Objects (300-1500), eds. Tracy Chapman Hamilton and Mariah Proctor-Tiffany (Brill), forthcoming in 2019.

 

Publications:

“A Medievalist in the Archives: Exploring Twentieth-Century Medievalism at Glencairn,” Glencairn Museum News, No. 1, 2019 (published 14 February 2019) 

With Louise Siddons, “Yay or Neigh? Frederic Remington’s Bronco Buster, Public Art, and Socially-Engaged Art History Pedagogy,” Art History Pedagogy & Practice 3.1 (2018).

“Moved by Medicine: The Multisensory Experience of Handling Folding Almanacs,” in Sensory Reflections: Traces of Experience in Medieval Artifacts, eds. Fiona Griffiths and Kathryn Starkey (Berlin and Boston: De Gruyter, 2018), 203-224, plates 280-282.

With Martha Easton, “Integrated Pasts: Glencairn Museum and Hammond Castle,” Gesta 57.1 (April 2018): 95-118.

With Karen Overbey, “Diagnostic Performance and Diagrammatic Manipulation in the Physician’s Folding Almanacs,” in The Agency of Things in Medieval and Early Modern Art: Materials, Power and Manipulation, eds. Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, and Zuzanna Sarnecka (Routledge, 2018), 144-156.

With Louise Siddons, "From Hoarders to the Hoard: Giving Disciplinary Legitimacy to Undisciplined Collecting" in postmedieval: a journal of medieval cultural studies 7.3 (2016): 407-420.

Freeze-framed: theorizing the historiated initials of the Régime du corps,” Word & Image 32.2 (April-June 2016) 235-250

Unruly Reading: The Consuming Role of Touch in the Experience of a Medieval Manuscript” in Scraped, Stroked, and Bound: Materially Engaged Readings of Medieval Manuscripts, edited by Jonathan Wilcox (Turnhout: Brepols, 2013), 97-114, plates 225-230

Encountering the Inauthentic” in Transparent Things: A Cabinet, ed. Karen Eileen Overbey and Maggie M. Williams (New York: punctum books, 2013), 17-38

Artistic Representation: Women and/in Medieval Visual Culture,” with Marian Bleeke, Rachel Dressler, Martha Easton, and Elizabeth L’Estrange, in A Cultural History of Women, vol. 2 of 6 (In the Middle Ages), volume ed. Kim M. Phillips (London: Bloomsbury Academic, 2013), 179-213 (267-271)

Violence on Vellum: Saint Margaret’s Transgressive Body and Its Audience,” in Representing Medieval Genders and Sexualities in Europe: Construction, Transformation, and Subversion, 600–1530, eds. Elizabeth L’Estrange and Alison More (Ashgate, 2011), 67-88

Audience and Spatial Experience in the Nuns’ Church at Clonmacnoise,” in Different Visions: A Journal of New Perspectives in Medieval Art (2011), 1-45

“The Forested Frontier: Commentary in the Margins of the Alhambra Ceiling Paintings” in Medieval Encounters 14.3 (Dec. 2008), 303-340

The Immediacy of Objects: Reassessing the Contribution of Art History in Feminist Medieval Studies” in Medieval Feminist Forum (44.2, Dec. 2008), 53-73.

Awards:

She has been the recipient of awards from the Kress Foundation, the Mabelle McLeod Lewis Memorial Fund, the Institute for Research on Women and Gender (now the Michelle R. Clayman Institute for Gender Research) at Stanford University, the Oklahoma Humanities Council, the University of Iowa Obermann Center for Advanced Studies, the University of Pennsylvania’s Humanities Forum, and the Humanities Research Center at Rice University.